[1] Phish debut.
[2] Featured an ending typical for older Tweezers with a die-down akin to the Picture of Nectar album version.

Come on Baby Let's Go Downtown made its Phish debut at this show. Trey teased Super Bad in Moma Dance. Tweezer contained Sunshine of Your Love teases from Trey and featured an ending typical for older Tweezers with a die-down akin to the Picture of Nectar album version.

Show Reviews

The opener "C'mon baby" was great to here after catching it on Trey Solo Band tour....then just look at the rest of that first set....that should be a second set. Thick Moma crashes into a Frankenstein (not to be taken lightly in an indoor venue). Halley's> Fee> Stash to close the set...hmmmmm.

Now look at that second...it just looks ok (?)....but they rocked that crappy venue with songs. The energy was through the roof. Birds was a hot ragging opener....then my favorite TWEEZER!!!!! which drops into a very cool NICU..Then Mule...and Mike's little chant/yell after the jam is just awesome, I felt like I was at church it had a real spooky feel to it. Fast Enough was perfectly placed and very true for the energy in the building. And since it wasn't fast enough...Piper would be fast enough. Nice little Character Swag-O to finish off the set.

What I really remember from this show was the crowd being just totally pumped...similar to the second night in Philly (fall '99). After the lights went on after the encore....you couldn't see across the arena. There was sooooo much smoke and sweat a thick haze settled into the arena. Everyone was dancing and grooving so hard our collective sweaty bodies had produced heavy condensation in the venue...a sweat cloud....everything in the building was wet....it was even dripping from rafters. Now that's how hard they rocked.

This was my first time getting a ticket on the floor which my friends didnt have and i went on an adventure enhanced by a dose i recieved walking in the door that was way more powerful than i was expecting. It hit me hard during one of my all time favorite first sets that someone mentioned above was really a 2nd set being played in the first. Come On Baby from Neil's Tonights The Night album opened the show and really set the town for this sinister set. If you like dark and scary Phish this one is for you! A very slow and sinister funk groove for Moma leads to a wicked Frankenstein that scared the willies out of me as the L had taken hold in a major way. I was all by myself and very close to the stage which made for a sensory overlaad soundtracked by one of my favorite Phish sets ive attended of all time. One of those instances where the band magically played perfectly to what i was experiencing on my acid trip. I had been chasing Fee and when they started playing it i was so thankful to be hearing it live and also saved me to a degree from the very dark path, in a good way, i was heading down. The Stash was just a perfect blend of sinister-dark Phish combined with some funk grooves you would hear at Dante's house party in Firenze. It was a perfect 6 song set. The mid set Frankenstein was so well placed and something they should revisit. Trey's guitar licks in Come On Baby were def in tribute to the excellent Danny Whitten, the genius guitar player in Neil's band Crazy Horse that sadly passed away before Tonights The Night came out due to an alcohol and heroin overdose. The Moma was in its prime at this point in 1.0 and this version would be a go to as an example of peak 1.0 Moma. They dragged it out by keeping the funk groove going straight into a raging and sinister Frankenstein, which was one of two times played in 2000. Playing Stash in the role as set closer was played accordingly. Very hardcore tension build up and release. Another 1.0 Stash to be sought out if you're looking for what the song was capable of at this point in Phish's evolution. There were no shortcuts or lack of enthusiasm to get the full affect of what Stash is capable of. Ive always thought that there was a story being told throughout this set. You go downtown to score your party favors or your medicine to keep from being sick but youve got to play it cool and do your dance so Floyd will do business with you and once you get your fix you become frankenstein and then all is good and you got your fix and things are good and you continue that Moma dance as you dangle your stash. Set break found me in a bathroom stall trying to not completely freak out and unsure if i had to go to the bathroom or not. Finally got my shit together and was able to meet up with my friends and decided to watch 2nd set with them. Got a wild and continuation from the first set in inte ffsinister nature. Birds, tweezer, scent, LxL, Piper and Antelope along with the sleeping monkey encore were perfect for me after all the stuff we got the first night i loved. The BOAF, tweezer and Piper are really unlike anything else from fall 2000 as well as summer for that matter. Theres some good audio recordings going around that until Phish releases a SBD is a must format to get the awesomeness particularly the Piper. Youve never heard a Piper like this or tweezer. They both are out there and have a sinister tone to them. Besides the Summer Lakewood Hot'Lanta Tweezer, the Chicago-O'Hare Tweezer is my favorite of the year!!! Sleeping Monkey was a perfect encore to send my friends back home to out early in the semester college we were all attending and two different ones between the two. I didnt come down well into a couple hours on the car ride home. Love the Cities, which is a must have version from MN-Target Center the next night but alas we headed back to campus for two nights before catching my last show of 1.0 at Bonner Springs. Opened with Beatles white album gem, " Everybodys Got Something to Hide Except for Me and My Monkey." Little sly hint to the hiatus announcement to come. Night one of Rosemont is a really strong phish show but night two all the ingredients came together, me getting a floor ticket and being around 10 people back from Mike along with very potent L that compllimented the dark and sinister and super great song selection and the way the first set could easily have been a second. And the Piper and the Tweezer were two or the best versions of those songs for the year 2000. But what it really boils down to is this show is played without any let down or let up like some shows fell victim to on this fall tour(theres def more good Phish shows worth your listening pleasure than there are clunkers) but Chicago N2 is played at a high level but also has a style and overall sinister theme in a good way no other show from Fall 2000 sound. Please Phish give us an official soundboard release of these two, MN, BS and Englewood, CO releases!!! Chicago Night II Fall 2000 could be a stand alone though. Add meat, YEM, Reba, Ghost, tube from the night before and the bad ass cities from MN the next night as filler!!

Right, night 2 at Allstate. I didn't know the opening song, but its silly chorus (“Let's go, let's go, let's go downtown!”) somehow managed to get stuck in my head for MONTHS. The rest of the set was full of hard-hitters: quite a surprising choice of songs for the first half of the show. Song 3: Frankenstein! Gosh. Followed by Halley's! Halley's, however, was a distinctly relaxed affair (not necessarily a bad thing, of course). Stash was rather subdued as well; certainly nothing to write home about.
Set 2 opened up with a truly rockin' Birds, with Trey determinedly shredding like it was... well, the year 2000. Tweezer proved to be more exciting: at around 11:30, Trey began to repeatedly strum the same note, which made room for Mike and Fishman to step up and make things interesting. Trey might have advantageously employed this strategy much more in 2000... I'm reminded of the gun shop scene in Bittersweet Motel, in which Mike scolds Trey for playing “too many notes.” (On the other hand, 2000 also gave birth to the minimalist/ambient monster set 2 of 6/14... I guess you never can know for sure with this band, eh?)
Anyhow, FEFY – a real rarity by this time (played a whopping 3 times in 2000) – proved to be a real treat, boasting an inspired solo from Trey. The only shortcoming of this version: its ending sloppily came out of left field, right in the middle of the chord progression. Rather odd, really.
The red red worm was up to bat next. At about 5:30-6:00, Piper really accelerated. Bloody hell, this Piper was fast. Give it a listen, you'll find yourself wondering where all the speed came from. (Fishman, probably.) Yes, you're right, as far as I can tell. What the fuck got into him? If, up to this point, the show had seemed perhaps a bit low-key despite the song selection, Piper sure managed to stir things up. It might have ended at 13:00, at which point the jam evaporated into steam and dissipated... instead, we got a highly unusual (albeit short) bass solo from Mike, followed by a few minutes of that aforementioned ambient-infused goodness. Yep, I guess Trey took Mike's advice after all. Everyone was on the same page for Character Zero.
The Sleeping Monkey > Tweeprize encore was appropriate (most nights I'd actually take Sleeping Monkey over another Bold As Love). All-in-all, this show gets my stamp of approval. Better than night 1, and one of the better (not “BEST”) shows of year, I'd say.

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